Photographs from the Ginny Williams Collection

Lotte Jacobi 1896 - 1990 Selected Images a group of 3 gelatin silver prints, comprising Kathe Kollwitz; Edward von Twardowksi; and 'Piscator, Lang & Schunzel', each signed in pencil on the image, one titled in pencil and one with the photographer's 'Hillsboro, N. H.' credit stamp on the reverse, circa 1920s-1930s, printed later (3) images: each approximately 9 3/4 by 7 in. (24.8 by 17.8 cm.)

selected images

a group of 5 photographs, comprising Sommerlisches Strassenbild mit Kaffehausterrasse; London; George Washington Bridge; New York Skyline; and Calla Lily; ferrotyped, the first with a typed caption label and each with the photographer's '24 Central Park South, WI. 2-3600 PL8-1745' credit/studio stamp on the reverse, each matted and framed, 1930s (Berlin--New York, pl. 73, variant cropping) (5)

signed by the photographer in pencil on the image, titled and inscribed 'original, not copy made' by the photographer in pencil on the reverse, circa 1950

photogenic 'dimensions no. 11'

untitled, photogenic

Photographs

Portfolio avec dix tirages argentiques postérieurs. Montés individuellement sous passe-partout, signés et annotés proof 2 au crayon en bas dans l'image. Chaque passe-partout avec numéro du titre en relief en bas a droite. Avec quatre pages de présentation, dont une numérotée a.p.2/5 au stylo bille de la main du photographe, et une autre avec titres et dates des photographies. Dans son emboîtage d'origine, avec 'Jacobi' imprimé en relief sur la couverture et 'Lotte Jacobi' sur le dos.

Portfolio avec dix tirages argentiques postérieurs. Montés individuellement sous passe-partout, signés et annotés proof 2 au crayon en bas dans l'image. Chaque passe-partout avec numéro du titre en relief en bas a droite. Avec quatre pages de présentation, dont une numérotée a.p.2/5 au stylo bille de la main du photographe, et une autre avec titres et dates des photographies. Dans son emboîtage d'origine, avec 'Jacobi' imprimé en relief sur la couverture et 'Lotte Jacobi' sur le dos. Portfolio of 10 silver prints, printed later. Ed. AP 2/5.

portfolio i, 1978

S/O Buhl Collection

ferrotyped, signed with a stylus on the image, the photographer's 'Hillsboro, N. C.' credit stamp on the reverse, circa 1950

photogenic (hands with flower)

lotte jacobi (1896 - 1987) abstraction no. 3

lotte jacobi (1896 - 1987) photogenic

lotte jacobi (1896 - 1987) 'albert einstein'

(Deering, New Hampshire: self-published, 1978, an edition of 25 numbered copies and 5 artist's proofs), a portfolio of 10 photographs, each signed by the photographer in pencil on the image, each matted and numerically stamped on the mat, 1928-39, printed in 1978; with printed title, introduction by Dr. Otto Steibert, colophon, numbered 'A.P. 2/5' in an unidentified hand in pencil, and plate list. Folio, gray linen clamshell box, artist's proof no. 2 in a total edition of 30 (Berlin-New York, cover, pp. 13, 61, 68-70, 77, 87, and 163; Lotte Jacobi, pl. 153)

'portfolio i'

2 photographs, comprising 'Karl Vallentin' [sic] by JACOBI and 'Hilde Rantzsch' by KALLIN-FISCHER, the first double-mounted, signed by the photographer in pencil and titled in an unidentified hand in ink in the margin, the second titled in an unidentified hand in blue pencil on the reverse, each matted, framed, and with Houk Friedman Gallery labels affixed to the reverse, 1930 and circa 1927 (2)

selected portraits

Silver print, mounted on card, signed in pencil and with the Foto Jacobi Berlin stamp on the reverse

olga klein, 1932

lotte jacobi (1896 - 1990) 'light abstraction'

lotte jacobi (1896 - 1987) `portfolio i'

Photographs from Atkins to Warhol - Important European Collection

Tirage argentique d’époque. Signé au crayon dans l'angle inférieur droit. Signé et titré au crayon au verso.

'original photogenic', 1949

lotte jacobi (1896 - 1990) 'abstraction #1 -- madonna'

lotte jacobi (1896 - 1990) photogenic

lotte jacobi (1896 - 1990) albert einstein

lotte jacobi (1896 - 1990) selected images

Fine Books and Manuscripts, Including Americana

Salinger, J.D. The Catcher in the Rye. Boston: Little, Brown, 1951 8vo (200 x 133 mm). Publisher's black cloth, spine gilt-lettered; one spot to fore-edge, a few stray spots to endpapers. Original dust-jacket, illustration by Michael Mitchell on upper cover and spine, with the photographic portrait of the author by Lotte Jacobi on the rear panel. In quarter red morocco slipcase with folding chemise. An exceptional, bright copy of this contemporary American classic ﻿The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. The dustjacket on the present copy is remarkably pristine—examples with the photo are already scarce, and ones in the condition seen here are even more so. Salinger worked on Catcher, chronicling Holden Caulfield’s escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger’s brilliance and insight but condemned the pervasiveness of obscenities in the novel.

View 1 of Lot 108: Salinger, J.D. | A strikingly fresh first edition of Salinger's essential novel

salinger, j.d. | a strikingly fresh first edition of salinger's essential novel

Books, Manuscripts and Music from Medieval to Modern

J.D. Salinger The Catcher in the Rye. Boston: Little, Brown and Company, 1951 FIRST EDITION, 8vo (198 x 133mm.), original black cloth, spine gilt-lettered, DUST-JACKET, illustration by Michael Mitchell on upper cover and spine, author photo by Lotte Jacobi on lower cover, extremities slightly rubbed,dust-jacket professionally restored with tissue repairs to spine and extremities and section supplied at front panel First edition of Salinger's enduring classic. One of the great adolescent novels, it follows young Holden Cauldfield's Manhattan adventures after he escapes from Pencey Prep (modeled on the military academy attended by Salinger). The novel originally received mixed reviews and generated controversy owing to the protagonist's "obscene" language (tame by modern standards). Such language, coupled with Holden's desire for rebellion against adult "phonies", has contributed to the novel being periodically banned from some school reading lists to this day.

View 1 of Lot 305: J.D. Salinger | The Catcher in the Rye, 1951, first edition

j.d. salinger | the catcher in the rye, 1951, first edition

Salinger, J.D The Catcher in the Rye. Boston: Little, Brown and Company, 1951 8vo. Publisher's black cloth, spine gilt-lettered; edges very lightly bumped. Original dust-jacket with $3.00 price on front flap, illustration by Michael Mitchell on upper cover and spine, photographic portrait of the author by Lotte Jacobi on the rear panel extending to top edge; slightest chipping to head and foot of spine, expertly restored at head. First edition of this contemporary American classic, exploring the failures of the adult world. The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. Salinger worked on Catcher, chronicling Holden Caulfield’s escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger’s brilliance and insight but condemned the pervasiveness of obscenities in the novel. It continues to provoke the “phonies” to the present day and is often the target of overly concerned parents when spotted on school reading lists. "This novel is a key-work of the nineteen-fifties in that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest, unprevailing in the noise, than a militant world-changer... The Catcher in the Rye was a symptom of a need, after a ghastly war and during a ghastly pseudo-peace, for the young to raise a voice of protest against the failures of the adult world. The young used many voices — anger, contempt, self-pity — but the quietest, that of a decent perplexed American adolescent, proved the most telling" (Anthony Burgess, 99 Novels, pp. 53-54.) REFERENCE: Burgess 99

View 1 of Lot 1142: Salinger, J.D |  Catcher in the Rye; an exceptional example

salinger, j.d | catcher in the rye; an exceptional example

Fine Books and Manuscripts, Including Americana. Part 2

Salinger, J.D. The Catcher in the Rye. Boston: Little, Brown and Company, 1951 8vo (200 x 133 mm). Publisher's black cloth, spine gilt-lettered; hinges slightly loose, light fading to gilt-lettering. Original dust-jacket, illustration by Michael Mitchell on upper cover and spine, with the photographic portrait of the author by Lotte Jacobi on the rear panel; lightly toned, one or two creases, tiny nicks at head and tail of the spine, abrasion to head of the spine panel and foot of the rear panel, the latter affecting the portrait. In a red slipcase with folding chemise. First edition of this contemporary American classic The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. Salinger worked on Catcher, chronicling Holden Caulfield’s escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger’s brilliance and insight but condemned the pervasiveness of obscenities in the novel. PROVENANCE: Lesley Holmes (ownership inscription to front free endpaper)

View 1 of Lot 1102: Salinger, J.D. | A landmark in post-war American literature

salinger, j.d. | a landmark in post-war american literature

Important Modern Literature from the Library of an American Filmmaker

Salinger, J. D. The Catcher in the Rye. Boston: Little, Brown and Company, 1951 8vo. Publisher's black cloth, spine gilt-lettered; gilt bright and unrubbed. Original dust-jacket, with $3.00 price on front flap, illustration by Michael Mitchell on upper cover and spine, with the photographic portrait of the author by Lotte Jacobi on the rear panel extending to top edge; tiny nick at tail along upper spine fold, trace of rubbing to flap folds, but red remains strong with just some of the usual toning to white, but evenly so. Red case. A handsome first edition of this contemporary American classic – the failures of the adult world The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. Salinger worked on Catcher, chronicling Holden Caulfield’s escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger’s brilliance and insight but condemned the pervasiveness of obscenities in the novel. It continues to provoke the “phonies” to the present day and is often the target of overly concerned parents when spotted on school reading lists. "This novel is a key-work of the nineteen-fifties in that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest, unprevailing in the noise, than a militant world-changer... The Catcher in the Rye was a symptom of a need, after a ghastly war and during a ghastly pseudo-peace, for the young to raise a voice of protest against the failures of the adult world. The young used many voices — anger, contempt, self-pity — but the quietest, that of a decent perplexed American adolescent, proved the most telling" (Anthony Burgess, 99 Novels, pp. 53-54.) REFERENCE: Burgess 99

View 1 of Lot 76: Salinger, J. D. | The Catcher in the Rye, first edition 

salinger, j. d. | the catcher in the rye, first edition

Fine Books and Manuscripts

Salinger, J. D. The Catcher in the Rye. Boston: Little, Brown and Company, 1951 8vo. Publisher's black cloth, gilt-lettered spine; gilt somewhat faded, one corner lightly bumped, small dampstain to top of textblock. Original dust-jacket, illustration by Michael Mitchell on upper cover and spine, with the photographic portrait of the author by Lotte Jacobi on the rear panel; lightly toned, particularly the spine panel, head of spine frayed, a few minor chips to edges, surface abrasions to inside flaps old jacket protector. First edition of this contemporary American classic, exploring the failures of the adult world. The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. Salinger worked on Catcher, chronicling Holden Caulfield's escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger's brilliance and insight but condemned the pervasiveness of obscenities in the novel. It continues to provoke the "phonies" to the present day and is often the target of overly concerned parents when spotted on school reading lists. "This novel is a key-work of the nineteen-fifties in that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest, unprevailing in the noise, than a militant world-changer... The Catcher in the Rye was a symptom of a need, after a ghastly war and during a ghastly pseudo-peace, for the young to raise a voice of protest against the failures of the adult world. The young used many voices—anger, contempt, self-pity—but the quietest, that of a decent perplexed American adolescent, proved the most telling" (Anthony Burgess, 99 Novels, pp. 53-54.) REFERENCES: Burgess 99

View 1 of Lot 1062: Salinger, J. D. | "The Catcher in the Rye," first edition of this contemporary American classic

salinger, j. d. | "the catcher in the rye," first edition of this contemporary american classic

Fine Books & Manuscripts

8vo (7 7/8 x 5 1/4 in.; 200 x 133 mm).  Publisher's black cloth, spine gilt-lettered; minimal wear.  Original dust-jacket, illustration by Michael Mitchell on upper cover and spine, author photo by Lotte Jacobi on lower cover; minimal wear. Half red morocco gilt slipcase and chemise.

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